DOCSLIB.ORG

Music Braille Code, 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Braille Code, 2015 MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................... xvii PREFACE ............................................................................... xviii FOREWORD TO THE MANUAL OF BRAILLE MUSIC NOTATION, AMERICAN EDITION, 1988 .............................................. xix SUMMARY OF RULE CHANGES .................................................... xxi TABLES OF SIGNS .................................................................... 1 BASIC SIGNS............................................................................. 2 Table 1. General Signs ............................................................. 2 Table 2. Notes and Note Values ................................................. 3 Table 3. Octave Marks ............................................................. 4 Table 4. Clef Signs .................................................................. 4 Table 5. Rests ........................................................................ 5 Table 6. Accidentals and Key Signatures ..................................... 5 Table 7. Meter Indications and Time Devices ............................... 6 Table 8. Irregular Note Grouping ............................................... 6 Table 9. Intervals ................................................................... 7 Table 10. The Tie .................................................................... 7 Table 11. In-Accord and Measure-Division Signs .......................... 8 Table 12. Stem Signs .............................................................. 8 Table 13. The Slur .................................................................. 9 Table 14. Tremolo ................................................................ 10 Table 15. Fingerings .............................................................. 11 Table 16. Ornaments ............................................................. 12 Table 17. Print Repeats .......................................................... 15 iv Table 18. Braille Full- and Part-Measure Repeats, Parallel Movement, and Sequence Abbreviation ............................. 15 Table 19. Braille Numeral Repeats ........................................... 16 Table 20. Da Capo and Dal Segno Repeats ................................ 16 Table 21. Annotations and Variants ......................................... 16 Table 22. Nuances ................................................................ 17 Table 23. Chord Symbols ....................................................... 20 SIGNS FOR INSTRUMENTAL MUSIC ............................................. 21 Table 24. String Instruments .................................................. 21 Table 25. Keyboard Instruments ............................................. 24 Table 26. Figured Bass and Harmonic Analysis .......................... 25 Table 27. Harps .................................................................... 26 Table 28. Accordions ............................................................. 27 Table 29. Abbreviations for Instrument Names .......................... 28 Table 30. Wind Instruments and Percussion .............................. 32 SIGNS FOR VOCAL MUSIC ......................................................... 33 Table 31. Signs in Music Lines ................................................. 33 Table 32. Signs in Word Lines ................................................. 34 SIGNS FOR METHODS NOT IN USE BY BANA ................................ 35 Table 33. Section-by-Section .................................................. 35 Table 34. Vertical Score and Bar-by-Bar ................................... 35 Table 35. Substitution ........................................................... 35 Table 36. Note-for-Note ......................................................... 35 PART I. BASIC SIGNS ............................................................ 36 1. GENERAL PROCEDURES AND SIGNS ........................................ 36 1.1. Facsimile and Nonfacsimile Transcription ............................ 36 1.2. Use of English Contractions .............................................. 36 v 1.3. Parentheses ................................................................... 37 1.4. Preliminary Pages ........................................................... 37 1.5. Pagination of Music Pages ................................................ 38 1.6. The Page Heading ........................................................... 40 1.7. The Music Heading .......................................................... 40 1.8. Metronome Indications .................................................... 41 1.9. Prefix for Transcriber-Added Signs .................................... 43 1.10. Bar Lines ..................................................................... 43 1.11. The Braille Music Hyphen ............................................... 45 1.12. Doubling of Signs ......................................................... 45 1.13. Print Brackets .............................................................. 45 1.14. Coincidence of Notes in More Than One Part ..................... 46 1.15. Errors in Print Music ...................................................... 47 1.16. Music Notation in Literary Context ................................... 47 1.17. Placement of Copyright Notices in Anthologies ................... 48 2. NOTES AND NOTE VALUES ..................................................... 49 2.1. Note Names and Values ................................................... 49 2.2. Alternative Signs for Double Whole Note ............................ 49 2.3. Dotted Notes ................................................................. 49 2.4. Larger and Smaller Value Signs ........................................ 50 2.5. Specially Shaped Notes ................................................... 51 2.6. Proportional Notation ...................................................... 52 3. OCTAVE SIGNS .................................................................... 53 3.1. The Octaves .................................................................. 53 3.2. Rules for Octave Marks .................................................... 53 3.3. 8va and 15ma ................................................................ 54 4. CLEF SIGNS ......................................................................... 56 vi 4.1. Clef Signs Limited to Facsimile Transcriptions ..................... 56 4.2. Octave Marks and Dot-3 Separators .................................. 56 4.3. Staff Line Given with Clef Sign .......................................... 56 4.4. Clef Signs with Ottavas ................................................... 56 4.5. Modified Clef Signs ......................................................... 57 5. RESTS ................................................................................ 58 5.1. Rest Signs ..................................................................... 58 5.2. Transcriber-Added Rests .................................................. 58 5.3. Multiple-Measure Rests .................................................... 58 5.4. Dotted Rests .................................................................. 59 6. ACCIDENTALS AND KEY SIGNATURES ...................................... 60 6.1. Placement of Accidentals ................................................. 60 6.2. Restating Accidentals ...................................................... 60 6.3. Quarter-Tone Accidentals ................................................. 61 6.4. Accidental Signs in Literary Context .................................. 61 6.5. Key Signatures............................................................... 61 7. METER INDICATIONS AND TIME DEVICES ................................ 63 7.1.
Load more

Recommended publications
  • The Bach Experience
    MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA.
    [Show full text]
  • Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
    Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML.
    [Show full text]
  • ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
    ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning.
    [Show full text]
  • Lilypond Music Glossary
    LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players.
    [Show full text]
  • Kisd Band Ms 3 Curriculum Year at a Glance
    KISD BAND MS 3 CURRICULUM YEAR AT A GLANCE TEXT: Essential Elements for Band THE LEARNER WILL: 1st 9-Weeks 2nd 9-Weeks 3rd 9-Weeks 4th 9-Weeks Identify, define, write, and analyze whole, half, quarter, paired and single Identify, define, write, and analyze all previously learned elements adding eighth, sixteenth, dotted half, and dotted quarter notes with corresponding 9/8, 12/8, and 5/4 time signatures and the keys of G and Db. (1B, 1D, 1C, rests in simple time and dotted quarters and triplets in compound time; 2B, 3F) multi-measure rests; repeat, first and second endings, da capo al fine, dal segno al fine, da capo al coda, dal segno al coda; dynamics (pp-ff); staccato, Identify, define, write and analyze all previously learned elements in addition to the following: largo-presto, sforzando, fortepiano, chord structures legato, accent, marcato; crescendo, decrescendo; 2/4, 3/4 ,4/4, 2/2, 6/8; keys and tuning in a major key. (1B, 1D, 1C, 2B, 3F) of Bb, Eb, F; instrument names; musical forms; fermata; andante, moderato, ritardando, accelerando, largo, adagio, allegro. (1B, 1D, 1C, 2B, 3F) Perform a 2 octave chromatic scale with correct pitch, fingerings, and Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, accurate intonation. (1B) fingerings, and accurate intonation (quarter = 80bpm utilizing an eighth fingerings and accurate intonation (quarter = 100bpm utilizing an eighth fingerings, and accurate intonation (quarter = 100bpm utilizing a triplet note pattern).
    [Show full text]
  • New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
    1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................
    [Show full text]
  • The Baroque. 3.3: Vocal Music: the Da Capo Aria and Other Types of Arias
    UNIT 3: THE BAROQUE. 3.3: VOCAL MUSIC: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS EXPLANATION 3.3: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS. THE ARIA The aria in the operas is the part sung by the soloist. It is opposed to the recitative, which uses the recitative style. In the arias the composer shows and exploits the dramatic and emotional situations, it becomes the equivalent of a soliloquy (one person speach) in the spoken plays. In the arias, the interpreters showed their technique, they showed off, even in excess, which provoked a lot of criticism from poets and musicians. They were often sung by castrati: soprano men undergoing a surgical operation so as not to change their voice when they grew up. One of them, the most famous, Farinelli, acquired international fame for his great technique and vocal expression. He lived twenty-five years in Spain. THE DA CAPO ARIA The Da Capo aria is a vocal work in three parts or sections (tripartite form). It began to be used in the Baroque in operas, oratorios and cantatas. The form is A - B - A, the last part being a repetition of the first. 1. The first section is a complete musical entity, that is to say, it could be sung alone and musically it would have complete meaning since it ends in the tonic. The tonic is the first grade or note of a scale. 2. The second section contrasts with the first section in tonality, texture, mood and sometimes in tempo (speed). 3.
    [Show full text]
  • Theory of Music
    MUSIC THEORY 1. Staffs, Clefs & Pitch notation Naming the Notes Musical notation describes the pitch (how high or low), temporal position (when to start) and duration (how long) of discrete elements, or sounds, we call notes . The notes are represented by graphical symbols, also called notes or note signs . In English-speaking countries, the pitch names given to a row of notes steadily rising in pitch are drawn from the the first seven letters of the Roman alphabet: A B C D E F G In the Netherlands, the letters A to G are also used, but otherwise the 'Dutch' system follows the 'German' system, so-called because it originated in Germany, which also uses H. Staff or Stave The note signs are placed on a grid formed of horizontal lines and spaces. This grid is called the staff or stave . The plural of either word is staves . Although, in the past, staves could have many different numbers of lines, today the most common staff format has five lines separated by four spaces and is know as the pentagram . When numbering the lines, it is a widely used convention to number them from the bottom ( 1) to the top ( 5) of each staff. The spaces between the lines are numbered too, again from the bottom ( 1) to the top ( 4). Redaction and Publishing Marzenna Donajski © Dolmetsch Music Theory and History Online by Dr. Brian Blood 1 Music is read from 'left' to 'right', in the same direction as you are reading this text. The higher the pitch of the note , the higher vertically the note will be placed on the staff .
    [Show full text]
  • Basic Dynamic Markings
    Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot.
    [Show full text]
  • Articulation from Wikipedia, the Free Encyclopedia
    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
    [Show full text]
  • Braille Research Newsletter #5, July 1977
    /' BRAILLE RESEARCH NEWSLETTER (Braille Automation Newsletter) "pm No. 5, July 1977 edited by J.M. Gill and L.L. Clark WW| yWf awj- Warwick Research Unit for American Foundation for the Blind the Blind University of Warwick 15 West 16th Street Coventry CV4 7AL New York 10011 England U.S.A. •**SHf| Contents Page Editorial 2 Automatic Translation by Computer of Music 5 Notation to Braille by J.B. Humphreys Braille Books from Compositors ' Tapes 13 by C„ Brosamle A Note on Hybrid Braille Production 19 by P.W.F. Coleman The Expansion of Braille Production in Sweden 26 by B. Hampshire and S. Becker Plate Embossing Device by P.D. Gibbons and 32 E.L. Ost Braille Systems by J«E. Sullivan 35 An Analysis of Braille Contractions by 50 J.M. Gill and J.B. Humphreys Using Redundancy for the Syntactic Analysis of 58 Natural Language: Application to the Automatic Correction of French Text by J. Courtin TOBIA 60 Congress in Toronto 60 Recent Publications and Reports 61 Address List 63 - 2 - Editorial With this issue, the Braille Automation Newsletter changes its name to Braille Research Newsletter. We shall continue to use the former heading as a sub-heading for the purpose of continuity in libraries and to identify ourselves as to origin. The reason for a name change is in fact a recognition that the automatic generation of braille depends, from the point of view of optimal design, upon a consideration of the changes that eventually will occur in the braille code as a natural result of continual review by braille authorities to keep the code up-to-date.
    [Show full text]
  • An App to Find Useful Glissandos on a Pedal Harp by Bill Ooms
    HarpPedals An app to find useful glissandos on a pedal harp by Bill Ooms Introduction: For many years, harpists have relied on the excellent book “A Harpist’s Survival Guide to Glisses” by Kathy Bundock Moore. But if you are like me, you don’t always carry all of your books with you. Many of us now keep our music on an iPad®, so it would be convenient to have this information readily available on our tablet. For those of us who don’t use a tablet for our music, we may at least have an iPhone®1 with us. The goal of this app is to provide a quick and easy way to find the various pedal settings for commonly used glissandos in any key. Additionally, it would be nice to find pedal positions that produce a gliss for common chords (when possible). Device requirements: The application requires an iPhone or iPad running iOS 11.0 or higher. Devices with smaller screens will not provide enough space. The following devices are recommended: iPhone 7, 7Plus, 8, 8Plus, X iPad 9.7-inch, 10.5-inch, 12.9-inch Set the pedals with your finger: In the upper window, you can set the pedal positions by tapping the upper, middle, or lower position for flat, natural, and sharp pedal position. The scale or chord represented by the pedal position is shown in the list below the pedals (to the right side). Many pedal positions do not form a chord or scale, so this window may be blank. Often, there are several alternate combinations that can give the same notes.
    [Show full text]